At the same time in Paris, Alexandre Stellio, the clarinet virtuoso from Martinique, was recording and playing beguines that are often stuningly beautiful, and clearly related to the New Orleans style. His band frequently featured a banjo and a trombone, and contrapuntal improvisation. One tune on a two-Cd set issued last year, « Stellio, le créateur de la biguine à Paris » (Frémeaux), « Ah ! Gadé Chabine La » pokes fun at a woman for being easy and a liar ; i t was the carnival hit of 1927. Stellio’s work helps round out the musical picture of the early parts of the century, while showing that musicians from the Americas where listening to the same music and coming to some of the same conclusions about how it should sound.
THE NEW YORK TIMES
THE NEW YORK TIMES
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INTEGRALE CHRONOLOGIQUE 1929-1931
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